| Pige for string quartet - Score & parts Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Fennica Gehrman
2 violins, viola, violoncello SKU: FG.55011-875-1 Composed by Lotta Wenn...(+)
2 violins, viola,
violoncello SKU:
FG.55011-875-1
Composed by Lotta
Wennäkoski. Classical,
contemporary. Score &
parts. Fennica Gehrman
#55011-875-1. Published
by Fennica Gehrman
(FG.55011-875-1).
Lotta
Wennäkoski's Pige
(2021-2022) for string
quartet was commissioned
to be paired with the
Death and the Maiden
quartet by Franz Schubert
(pige is Danish for
girl). The composer
tells:
The first
movement Vorüber, ach,
vorüber! is based on
the first half of
Schubert’s lied
lying behind his The
Death and the Maiden
quartet. The
maiden’s song in
the beginning of the lied
has not found its way to
his string quartet, so I
wanted to use this
material in mine. The
second move-ment Daktylus
borrows its idea from the
haunting pulse of
Schubert’s chant
of Death. Something
fierce and something
soundless can be heard
here - along with other
variants on the dactyl
rhythm. For example,
I’ve written a
lyrically flowing melody
based on the same
rhythmic pattern
(long-short-short). Schubert’s
quartet is wonderful
music and of course a
cornerstone of the
repertoire, and the death
and the maiden is a
strong, tempting and
gloomy motif in art
history. On the other
hand, I just
couldn’t help
seeing the motif also as
a - somewhat passé -
image of an old male
desiring the ulti-mately
young female body. The
third movement thus turns
its gaze to the girl
herself. Pigen og
scrapbogen, The Girl and
the Scrapbook, is joyful
textural music - compiled
of fragments and freely
handled quotations that
might spring to mind when
thinking of a vital
girl’s
life.
This
product includes the full
score and the set of
parts.
Movements:<
br>1. Vorüber, ach,
vorüber! 2.
Daktylus 3. Pigen og
scrapbogen (das
Mädchen und das
Scrapbuch)
The
first movement can also
be performed separately
as a prologue to The
Death and the Maiden
string quartet by Franz
Schubert. $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| String Quartet in E minor Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] Eulenburg
From My Life. By Bedrich Smetana. (Study Score). Schott. Size 5.25x7.5 inches. ...(+)
From My Life. By Bedrich
Smetana. (Study Score).
Schott. Size 5.25x7.5
inches. 51 pages.
Published by Eulenburg
Germany (Schott).
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songs for Linda Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Faber Music Limited
By Paul McCartney. Quartet; Score; String Quartet. Faber Edition. Published by F...(+)
By Paul McCartney.
Quartet; Score; String
Quartet. Faber Edition.
Published by Faber Music
$10.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Songs for Linda Quatuor à cordes: 2 violons, alto, violoncelle Faber Music Limited
By Paul McCartney. Part(s); Quartet; String Quartet. Faber Edition. Published by...(+)
By Paul McCartney.
Part(s); Quartet; String
Quartet. Faber Edition.
Published by Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano seul - Intermédiaire Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Missa Popularis Quintette à cordes: 2 violons, alto, violoncelle, basse [Set de Parties séparées] Barenreiter
Composed by Marten Jansson (1965-). In a folder. Set of parts. 11/11/11/11/8 pag...(+)
Composed by Marten
Jansson (1965-). In a
folder. Set of parts.
11/11/11/11/8 pages
pages. Published by
Baerenreiter Verlag
(BA.BA7420-22).
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Angel Island Passages Theodore Presser Co.
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Ch...(+)
Choral Soprano I, Soprano
II, Alto I, Alto II
SKU: PR.312418590
For Children's Choir
and String Quartet.
Composed by Chen Yi. Self
Cover. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Vocal Score. With
Standard notation.
Composed 2010. 16 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859. Published by
Theodore Presser Company
(PR.312418590). UPC:
680160595785. 8.5 x 11
inches. Text by Chen
Yi. Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by
SFGC’s Artistic
Director Susan McMane, at
San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for
children’s chorus
and string quartet, with
multimedia projection on
the walls of the concert
hall, produced by visual
artist Felicia Lowe.Â
The creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book
“Island, poetry and
history of Chinese
Immigrants on Angel
Island, 1910-1940â€,
by Him Mark Lai, Genny
Lim, and Judy Yung for
reference in 2009; also
inspired by the Angel
Island stories, and
through cooperation with
Felicia, who shared with
me her film “Carved
in Silence†and
video productions
“Chinatownâ€
and “Road to
Restorationâ€.I
named the first movement
of my work as
“1882â€, which
reflected the dark mood
under the Chinese
Exclusion Act of
1882. The collective
poems carved on the
wooden walls in Angel
Island expressed deep
emotion in sorrow and
anxiety. The music in
the second movement
“Longing†is
sad and sentimental.Â
The third movement is
called “We Are
Americaâ€, which is
ever-moving, energetic
and optimistic. The
text sung in the
beginning in Chinese
means “I am an
Americanâ€.Â
It’s sung in
Cantonese dialect, then
in Mandarin. As the
music develops, from
homophonic to polyphonic
with increasing layers,
the climax is reached
when the text is turned
to English “We Are
Americaâ€, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years. The music
fades out towards the
ending of the work, which
pushes the scene to a
remote picture, to look
forward to the future
peace of the world.I am
grateful to have the
opportunity to work with
such inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi. $8.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Angel Island Passages [Conducteur et Parties séparées] Theodore Presser Co.
Choral Cello, Viola, Violin 1, Violin 2, alto 1, alto 2, soprano 1, soprano 2 (+)
Choral Cello, Viola,
Violin 1, Violin 2, alto
1, alto 2, soprano 1,
soprano 2 SKU:
PR.31241859M For
Children's Choir and
String Quartet.
Composed by Chen Yi.
Folio. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Score and parts.
With Standard notation.
Composed 2010. 36 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859M. Published by
Theodore Presser Company
(PR.31241859M). UPC:
680160595792. 8.5 x 11
inches. Text by Chen
Yi. Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by SFGC’s
Artistic Director Susan
McMane, at San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for children’s
chorus and string
quartet, with multimedia
projection on the walls
of the concert hall,
produced by visual artist
Felicia Lowe.xa0 The
creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book “Island,
poetry and history of
Chinese Immigrants on
Angel Island,
1910-1940”, by Him Mark
Lai, Genny Lim, and Judy
Yung for reference in
2009; also inspired by
the Angel Island stories,
and through cooperation
with Felicia, who shared
with me her film
“Carved in Silence”
and video productions
“Chinatown” and
“Road to
Restoration”.I named
the first movement of my
work as “1882”, which
reflected the dark mood
under the Chinese
Exclusion Act of 1882.xa0
The collective poems
carved on the wooden
walls in Angel Island
expressed deep emotion in
sorrow and anxiety.xa0
The music in the second
movement “Longing” is
sad and sentimental.xa0
The third movement is
called “We Are
America”, which is
ever-moving, energetic
and optimistic.xa0 The
text sung in the
beginning in Chinese
means “I am an
American”.xa0 It’s
sung in Cantonese
dialect, then in
Mandarin.xa0 As the music
develops, from homophonic
to polyphonic with
increasing layers, the
climax is reached when
the text is turned to
English “We Are
America”, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years.xa0 The music fades
out towards the ending of
the work, which pushes
the scene to a remote
picture, to look forward
to the future peace of
the world.I am grateful
to have the opportunity
to work with such
inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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